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On June 20, 1984, Hartwick College purchased the New York State Music Camp.

The agreement of sale stated that Dr. Swift would receive $45,000.00 for the "Music Camp and all the rights appertaining thereto." The agreed sum was to be provided in six semi-annual payments beginning the following January and concluding in July of 1987. The amount of money could not approach that which he had invested in nearly four decades as Camp Founder and Director, but he was satisfied with the agreement.

Steven T. Zvengrowski was appointed new Camp Director. As music professor (and later Music Department Chair) at Hartwick College, he was the logical choice and had been prepared for the appointment. Since 1981 he had served on the Camp faculty.

Your father thought that Dr. Zvengrowski was really the only person who could take over as Camp Director. The program had done so much good for so many kids over the years, and he was grateful that the College realized its value - both to the students and to its own future. Steve would appreciate that the most.1

For his part Dr. Zvengrowski worked to make the transition as smooth as possible. In a meeting with the counseling staff at the beginning of the 1985 season he set the tone.

My purpose tonight is to inspire you to be the best possible staff member you can-one who loves, is committed, motivated to the total [Music Camp] program but also to have a good time. Education is a never-ending process. At a luncheon today with Dr. F. F. Swift, I learned more about the Camp process, and I was reinspired to do the best possible job I am capable of. 2

Changes were anticipated, too.

The direction of the Camp is in transition. We want to retain the broad philosophical basis which has worked so well for NYSMC but also expand our program with a view towards [programs such as] Interlochen, Tanglewood, Saratoga, and other performing arts. There'll be Camp trips, and well also bring in guest artists for master classes. 3

A highlight of the autumn for many campers was the reunion which followed the summer program. The "First Annual NYSMC Reunion" took place at Pomona Junior High School, Spring Valley, New York, on Saturday, December 15, 1984, from 3:30-10 p.m. The cost was $5.00, to pay for dinner. Informal photographs show more than 25 alumni attending and thoroughly enjoying themselves. The Second Annual NYSMC Reunion was scheduled for December 14, 1985, at the Holiday Inn Holidome, Suffern, New York.

* * *

In a promotional letter to prospective 1985 campers written in Fall 1984, Dr. Zvengrowshi listed names of 28 counselors and faculty who had indicated plans to return in 1985-thus maintaining an important tie with previous seasons. Included among the names were Jeffrey Alpert, David Dik, Robert Jager, Tony Kadleck, Tamara Mine, Jennifer Kuhns, L. Penni Newman, Beth Noll, Donald Sheehan, David Soto, Jonathan Strasser, Robert Swift, and Peter Woolschlager.

Also included were "some exciting special events" for the 1985 Camp

The Camp will visit the Tanglewood or Saratoga music festivals. The Glimmergiass Opera Theater will present a workshop and performance of Mozart's great opera Cosi Fan Tutte, sung in English. The Catskill Brass Quintet, Woodwind Quintet, and Chamber Players will each perform a concert and master class. The Mendelssohn String Quartet, one of the finest young quartets in the United States, will be in residence for three days and perform a concert. 4

The practice of taking "musical field trips" to attend live performances of professional organizations has continued to the present day. The 1995 Festival included trips to attend rehearsals or performances by the Glimmerglass Opera and the Philadelphia Orchestra. Plans for 1996 include a return to Otter Lake, where the New York State Music Camp was founded, with performances by the Select Choir, Jazz Ensemble, and Concert Choir.

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Tuition for the summer program in 1948 was $250.00 for the entire six weeks.

The tuition fee includes: Lodging and Meals, Recreational Program, Instruction in Band, Orchestra, Choir, Enrollment in one of five Music Courses, a Personalized Supervisory Program, Health Service, Public Performances, Private Lessons with outstanding teachers, Religious and Cultural Atmosphere, a pleasant and worthwhile vacation. 5

In 1950 the cost was $300.00 for six weeks but a special rate of $350.00 if one stayed for all eight weeks. 6

By 1976 tuition had reached $100.00 per week, but lessons were paid for separately at $5.00 per half hour. (The full seven-week program cost $650.00.) Day campers paid $35.00 per week or $230.00 for seven weeks. 7

By 1984 the six-week tuition cost $945.00 for resident campers. Day campers were charged $370.00 for all six weeks. 8

The 1990 resident camper fee for six weeks was $1835.00. Day campers paid $685.00. 9

For 1996 the tuition for full season resident campers has reached $3120.00. Six-week day campers pay $1160.00. Private studio lessons now cost $20.00 per half hour. 10

Increasing costs result in part from inflationary pressures. Too, some expenses such as dining services are fixed and show annual increases. Salaries also increase.

Contracts in 1950 included $5.00 per hour for studio lessons, $200.00 for eight-week counselors (less $140.00 deducted for room and board), $200.00 for eight-week conductors of ensembles, and $150.00 for teaching a class for eight weeks. The 1996 salaries are determined based upon previous training and experience. Annual increments in salary are provided for returning faculty and staff. It is estimated that the total budget for 1996 will be in excess of half a million dollars.

* * *

A significant new development of this period was the establishment of the Institute in 1987.

An arm of the New York State Music Camp is the newly-created Institute, to be in operation for the first time in 1987. Designed for students ages 16 and older who intend to pursue music professionally, the Institute will provide opportunities for such students to further their studies and gain valuable experience. Various features of the Institute include courses offered for college credit, special chamber ensembles, master classes and coaching with renowned ensemble members and artists, and opportunities for advanced vocalists to participate in the chorus of the Glimmerglass Opera Theatre. 11

The 1996 Festival included the following Institute offerings: 12

	Conducting Class		Music History Class		Wind Ensemble
	Madrigal Ensemble		Brass Quintet		Woodwind Quintet
	String Quartet		Piano Chamber Music Ensemble		Jazz Combo
	Vocal Jazz Combo

The breadth of development of the program is indicated by the current listing of performance organizations:

	Symphony Orchestra		Concert Orchestra		Chamber Orchestra
	String Orchestra		Institute String Quartet		Symphonic Band
	Concert Band		Intermediate Band		Institute Wind Ensemble
	Jazz Ensemble		Lab Jazz Ensemble		Intermediate Jazz Ensemble
	Concert Choir		Select Choir		Vocal Jazz Ensemble
	Chorale		Institute Madrigal Ensemble		Music Theatre Workshop

... plus numerous chamber ensembles. 13 Compare that list with what was first offered at Otter Lake:

And classes in 1996 provide a vast array of choices:

	Piano Sightreading		Keyboard Methods I, II, III, IV		Intermediate Piano I, II
	Piano Chamber Music Ensemble		Piano Master Class		Piano Ensemble I, II, III
	Piano Accompanying Class		Workshoplmprovisation Ensemble-		Music History
	Music of the World's Cultures		Beginning Sightsinging/Aural Skills		Advanced Sightsinging/Aural Skills
	Vocal Technique Class		Movement for Actors		Advanced Piano Techniques Seminar
	Improvisation for Actors		Part-Time Theory		History of Music Theatre
	Beginning Theory		General Music		Advanced Theory
	Conducting		Orchestration/Arranging		Computer Technology in Music Class

Other more specialized classes include: Orchestral Studies for Strings/String Master Class, Cello Technique Class, and three Institute classes (Conducting, Music History, and Composition). 14

There were but five credit-bearing courses listed in the 1948 brochure: Rudiments of Music, Elementary Harmony, Advanced Harmony, Music Culture (music appreciation), and Conducting. A sixth course was offered, Stage and Radio Technics-the only one not paralleled in the 1996 listing. "It is a practical application of 'how to conduct ones self [sic] in concert and radio work." 15

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The Hi Note has served since its inception in 1953 as the unofficial summer yearbook. Prior to 1953 the publication was The NYSMC Souvenir News, believed to have first been published in 1948.

That first issue had 12 pages.

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The 1953 (first) Hi Note contains 20 pages.

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The 1968 Hi Note had 24 pages.

* * *

The 1982 Hi Note lists four editors, four assistant editors, and 18 contributors. In 10 Years" . . .NYSMC will sponsor the International Chaminade Festival; ... The Camp Bank will carry only Quarters." The Third Floor Boys Book Store includes:

Title: Can-Can Author: Guy Macaluso Summary: Explains what to do when you own 100 soda cans.

And here's another run-away best-seller by an author renowned to many.

		Title: How Loud Can You Get? Author: David Soto Summary: Explains how to find the maximum volume you can crank your stereo up to before the walls begin to crack, and people on the floor double over in pain from the vibrations.
		Bookstore Hours Monday through Friday: 1:00-1:10 a.m. Saturday (extended hours): 1:00 a.m.-1:11 a.m.

The best vocalists were Allison Mills and Blake Field. The best instrumentalists were Mary Ann Ivan and Tony Kadleck, both of whom were also voted most likely to succeed.

In 1982 the Hi Note had 39 pages. 19

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In 1990 the Hi Note had reached 88 pages. The dedication reads, "This Hi-Note is not dedicated to Dr. Fredric Fay Swift, but rather to a part of him which we know and share. The 1990 Hi-Note is dedicated to our love of, and commitment to that eternal joy we know as music." (Dr. Swift had passed away the previous year.) Editors-inChief were James Gitkin and Sharon Slote. Assistant Editors were Stacy Markowitz and Ian Smith. Sixty-seven contributors were listed, followed by names of eighteen typists, five of whom have the same name, Ethan Nash. A copyright date appears at the bottom of the page: MCMXXLQUAACMZXLIVII.

A greeting from Dr. Zvengrowski follows. The results of the popularity poll is next: best instrumentalists are Stacy Markowitz and Kevin Romanski; best vocalists are Andrea Turner and Chris Hapka. Interesting new categories include cutest/most huggable, best backrubs, and most mutilated mealcards (Meg Thomsen and Paul Musser). Sixteen pages are devoted to reports of classes and ensembles.

Several new classes for 1991 are previewed, courtesy of Bob Padgett. One example should suffice.

Institute Sheep Care Class Professor Amy J. Reese, Ph.D., will lead the students through a rigorous, six week, hands on training course in the general care of sheep. Each student will be issued his or her own sheep. All aspects of mutton maintenance will be covered, culminating during the sixth week with a student organized sheep hike to Wilber Park. At that time Professor Reese will give a poolside seminar in sheep bathing and toilet training. No prerequisites.

A section entitled "Memorable Moments" reads as follows.

In previous years the Hi-Note has compiled a list of memories during the summer. This year we have only one memorable moment-and that is the 1990 season itself. This summer has proven itself to be continuously enjoyable. Therefore in memory of this summer, we will not single out any specific events, but instead cherish every moment in our hearts.

There were 31 pages of last wills and testaments. 20

~ From Dr. Bob's Personal Memories ~ The 1991 camp I remember for graffiti. Mornings I would arrive for my Institute Conducting Class at Yager classroom 327, generally before any students. Yet there had been written on the chalkboard some remarkably clever-or remarkably silly-graffiti. A few were included in the Hi Note that year. My commendations go to the anonymous writer of such memorable lines as: Leonard Bernstein is alive, and living as an elder hostile. Those of you who think you are perfect are annoying to those of us who really are. "NYSMC & I" - Shouldn't it be, NYSMC & me? 'Where's Handel Haydn?" "Out in the Bach yard." "Run, little piccolo! Run for your fife!"

* * *

The 1994 Hi Note displayed two names on its title page. In alphabetical order one reads the following:

HARTWICK COLLEGE SUMMER MUSIC FESTIVAL & INSTITUTE

AND NEW YORK STATE MUSIC CAMP PROUDLY PRESENTS:

The 1994 Hi-Note

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As of the close of the 48th season the name of the summer program was permanently changed. Dr. Zvengrowski explained the decision in an article which appeared in The Daily Star that summer.

The program... is on the verge of a name change to better represent its nature, said Steven T. Zvengrowski, director. Starting Aug. 7, the program will be the Hartwick College Summer Music Festival and Institute instead of the New York State Music Camp and Institute. 'We think the term 'camp' is a turnoff for a student who wants a serious program," Zvengrowski said. With more than 60 concerts, the program takes on a festival atmosphere, he said. Eliminating the word "state" from the name avoids confusion that the private program has any state connection, he said. This summer, 449 students - the highest enrollment in the program's history - are studying music at the Oneonta campus with about 100 staff and faculty, Zvengrowski said. A decade ago typical enrollment was about 150 students, and last year, 408 students attended the program. Zvengrowski attributed the increase to being better known in the music field and having faculty from such groups as the Philadelphia Orchestra and the Metropolitan Opera Orchestra. 21

A glance at names of selected faculty of the past two or three seasons illustrate the credentials to which Dr. Zvengrowski refers. Included are:

	Luis Biava (The Philadelphia Orchestra)		Justin DiCioccio (Program Director of Carnegie Hall Jazz)		Robert Jager (Tennessee Technological University)
	Hal Janks (Metropolitan Opera Orchestra)		David Lalama (Hofstra University)		Michael Ludwig (The Philadelphia Orchestra)
	Anthony Maiello (George Mason University)		Nancy Marano (Manhattan School of Music)		Alasdair Mitchell (Edinburgh Symphony Orchestra, Scotland)
	Malcolm W. Rowell, Jr. (University of Massachusetts)		Louis Salemno (New York City Opera)		Donald Schleicher (University of Michigan)
	Charles Schneider (Schenectady, Catskill, and Utica Symphony Orchestras)		Brian Wilson (Hartwick College)		Rodney Winther (Ithaca College).

Of special note are Robert Cafaro, Hirono Oka, and Jungeun Kim Cafaro - The Hartwick Trio. All members of The Philadelphia Orchestra, the trio was formed in 1993 and has proven to be an effective showcase ensemble for the summer festival as well as for the College.

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In 50 years of summer programs traditions develop. NYSMC/HCSMF&I has developed numerous examples, some of which have been presented and discussed in these pages. The Sunday afternoon first-week registrations, the Wednesday evening recitals and the weekend concerts, rehearsals, the large instrumental and choral ensembles, the recordings for broadcasts, living in dormitories (or the hotel and the lakeside cabins), sporting events, eating and socializing in the dining halls, the Final Concerts - all bring to mind common but individual memories.

It becomes difficult to think of the rare or unique occurrences, the exceptions to the comfortable pattern to which everyone became accustomed, and which in truth made the six-, seven-, or eight-week seasons speed by in the twinkling of an eye.

~ From Dr. Bob's Personal Memories ~ As an example of the above, I recall only once in my years of attending the music camp that a Wednesday evening recital was canceled. I do not remember the era though I recall I was a counselor. It may have been the second week, and it occurred simply because not enough students had signed up. Mr. [Robert] Oliver oversaw recitals then. I recall his lecturing all of us on the sad state of affairs-with so much talent, wasn't it possible to find four or five students to perform? We were suitably ashamed of ourselves. It didn't happen again.

Another "first" is planned for the 50th anniversary season. In 1996, for the first time ever, a weekend concert is being translocated from Oneonta to Otter Lake as part of the anniversary celebration.

A never-to-be-forgotten "first" occurred the evening and night of August 6, 1994, at the Final Concert of the 48th season. For all who attended the event, it will never be forgotten by students, staff, conductors, administrators, parents, and other members of the audience. It was the first bomb scare, both for the music camp and for Hartwick College. The author by then had been invited to write a history of the camp. With the assistance of his wife Margot, the following notes were written and are reproduced here verbatim:

1994 Final Concert 7:00   Dr. Z begins introductions. 7:08   Security officer walks down aisle and interrupts: there is a bomb scare. 7:15   Building is emptied. 7:25   Everyone is asked to move farther back. 7:45   We move to the Agora in Dewar Hall. 8:30   Hi Notes are distributed to give us something to do. 8:45   Dr. Z resumes introductions, now in the Agora. 10:00   Dr. Z confers with conductors (Salemno, DiCioccio, Wilson, Swift)-what to do! No bomb-sniffing dog has yet arrived from Binghamton. 10:30   Still no dog. Conductors agree to have concert. Each will determine his own program. The Final Dance will follow. 10:35   Dr. Z informs everyone of decision-everyone cheers. 11:10   Approval is given to enter the building. 11:30   The Concert starts [four and a half hours late].

The Daily Star's headline Monday reads, "Bomb threat empties music camp." The article begins, "A phoned-in bomb threat emptied Yager Hall at Hartwick College of more than 600 people gathered Saturday night for the season-ending concert of the college's New York State Music Camp and Institute . ...Shortly before 7 p.m. a caller told the college switchboard operator that a bomb had been planted in the building. " 22

~ From Dr. Bob's Personal Memories ~ While we waited [for the building to be checked] there were stories and rumors and bringing a dog from Binghamton and announcements and meetings... ... to determine whether we could move elsewhere (no: instruments and music were in Slade); ... whether we should cancel (no, couldn't be rescheduled; ... how much to tell everybody else ... etc. Students started their dance early and informally. The Bookstore was opened. Special overnight accommodations were made for parents who had planned to depart early that evening. Some reporter from The Daily Star appeared, and Steve met with her while we directors stood and listened. At the end Steve told her to speak with us, and Louis took over, telling her of Nadia Boulanger in WW2 insisting to friends that she be in her studio as that's where students would expect her. Music must go on! Concert Choir finally sang at 1:35 or so. I apologized to the audience for not having programmed "In the Still of the Night," or for heavier fare, the Bach Cantata #140, "Sleepers, Wake!" 23

Some of the older campers and alumni were not in favor of the name change that year. What a frustrating evening it was to have the final season of the music camp end in this manner! Yet there was no panic. Indeed patience was evident - until 9:30 or so. It turned to exasperation with reports of difficulties in finding a certified bomb-detecting dog and then having to transport it from Binghamton to sniff out the five floors of the building. Dr. Zvengrowski delivered one of the great humorous lines of the summer when he announced to the crowd, "People, we can enter the building and have our concert. The dog has done its duty."

* * *

The 1995 Hi Note is 92 pages and dedicated "In respectful and loving memory of Dr. Thurston Dox, whose gift and love of music will be remembered at HCSMF&I." [Dr. Dox was Professor of Music at Hartwick College and choral conductor in the summer program for several years.] In Dr. Zvengrowski's greeting he writes:

The 1995 season, our 49th, has marked the highest level of achievement since I have been the director of the program . ...As we approach our 50th Anniversary, you should be watching for some new programmatic changes, such as some new Institute offerings that will include special sessions designed for music educators, professional artists, and advanced students. Also, we plan to further expand the chamber music program, which was such a great success this past summer, and increase our visiting artists master class programs.

Editors were Jessica Thomson, Jay Heltzer, and Fatima Ast. Poetry was featured in this issue, as was a series of "Ten Top Lists." The 1995 Wills are 50 pages. (Word processing now simplifies the production of the publication.) Best instrumentalists were Ben Fox and Julia Cowden. Best vocalists were David Mdllenry and Erica Gruenberg.

Top 10 Reasons to Come Back to HCSMF&I Next Summer (1996) 10. Van Ess "Body Painting Day" 9. See if Dr. Z's shorts will get even longer 8. Jay Heltzer's 400th birthday 7. Find out what monosyllabic name the 2nd floor guys choose as their floor theme 6. Two words: Canadian Brass 5. Meredith Monk will have perfected the trio for solo voice 4. Jenks vs. Rowell in the Symphonic Band Director's "Sweat-Off' 3, Secular Music Day with Sean Wallace 2. Week 5 Concert Choir program: Randall Thompson's choral setting of "The Communist Manifesto" 1. New male Dorm Coordinator (we'll miss you, Tim) 24

The Final Concerts for the 1995 season of the Hartwick College Summer Music Festival & Institute included the following programs.

Musical Theater Workshop		Stephen Markuson, Director
Condensed "WIZ'		C. Smith and W. Brown
Institute Madrigal Ensemble		Walter Chaikowski, Conductor
Now Is the Month of Maying		T. Morley
Fair Phyllis I Saw		J. Farmer
Institute Vocal Jazz Combo		Nancy Marano, Conductor
Skylark		H. Carmichael
My Shining Hour		H. Arlen
Body and Soul		J. Green
My Romance		R. Rodgers
Institute Wind Ensemble		Malcolm Rowel!, Jr., Conductor
Petite Symphonie (I, II, IV)		C. Gounod
Select Choir		Robert Swift, Conductor
God, the Lord, Is Sun and Shield (Cantata No. 79)		J. S. Bach
Blackbird		J. Lennon and P. McCartney
I'll Be Seeing You		I. Kahl and S. Fain
Lulu's Back in Town		H. Warren
Chamber Orchestra		Louis Salemno, Conductor
Symphony No. 1 in C Major, Op. 21		L. Beethoven
Concert Orchestra		Robert Elder, Conductor
Symphony No. 4 (III)		J. Brahms, arr. V. Leidig
Francesca da Rimini		P. Tchaikovsky
Vocal Jazz Ensemble		Nancy Marano, Conductor
Cloudburst		A. Ross
Once When I Was Very Young		D. Brubeck
Opus One		St. Oliver
A Child Is Born		T. Jones and A. Wilder
Blue Skies		I. Berlin
Lab Jazz Ensemble		Justin DiCioccio, Conductor
Just a Little Off the Top		J. Chattaway
When I Was a Lad		D. Berger
Broadway		H. Woode
Blues for Thad		G. Yasinitsky
Concert Band		David Soto, Conductor
Liberty Bell		J. Sousa
The Typewriter		L. Anderson
America the Beautiful		S. Ward, arr. C. Dragon
Festivo		V. Nelhybel
Prelude Music		Brass Quintet
Revecy Venir du Printans		C. Lejeune
Symphony Orchestra		Louis Salemno, Conductor
"0, mio babbino caro" (Gianni Schicchi) Arseuia Soto, soprano		G. Puccini
An American in Paris		G. Gershwin
Symphonic Band		Malcolm Rowell, Jr., Conductor
" Galop" from Moscow Cheremushky		D. Shostakovich
Early One Morning		P. Grainger
I Am		A. Boysen, Jr.
Washington Grays		C. Grafulla, arr. G. Reeves
Jazz Ensemble		J. DiCioccio, Conductor
Goat Patrol		F. Zappa, arr. E. Palermo
All of Me		B. Byers
Wind Machine		S. Nestico
Concert Choir		Robert Swift, Conductor
Emitte Spiritum Tuum		Fr. J. Schuetky
God Bless America		I. Berlin, arr. R. Ringwald
Ev'ry Time I Feel the Spirit		W. Dawson
Anthem of Peace		M. Wilberg

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Next: "Memories Shared: A - L"

Dedication & Preface || Chapter 1 || Chapter 2 || Chapter 3 || Chapter 4
Chapter 5 || Chapter 6 || Chapter 7 || Chapter 8 ||

Music from the Mountains
New York State Music Camp 1947 - 1996
by Robert F. Swift